NMC has become a reliable champion of James Dillon's remarkable music, and its third collection devoted to him is not only the most impressive so far, but also marks the belated debut of the Arditti Quartet on the label. Written for that group with the pianist Noriko Kawai, The Soadie Waste from 2003 is archetypal Dillon, a work grounded in the composer's experiences of growing up on the outskirts of Glasgow in the 1960s - the title refers to a Territorial army social club - which uses his dense, complex musical language to communicate great physical power, exuberance and immediacy. It's a very different world from that of the 1994 piano duo Black/ Nebulae, with its swirling, constantly changing musical vistas, or of Traumwerk Book III for violin and piano, a half-hour of immense virtuoso difficulty that is a mosaic of a dozen sharply etched miniatures. All generate indelible musical images that are unlike those of any other composer working today. Dillon's instrumental writing takes no prisoners, but the playing of Kawai and the Ardittis in all these works is remarkable too; no composer could hope for better.